(Sooo, why does this cover make things look like the Blue Beetle is dancing -- rather than fighting --with the Destroyer Of Heroes?!?)

To date, there have been at least four different versions of the superhero known as "The Blue Beetle". The original incarnation, created by Charles Nicholas (Wojtkowski) for Victor Fox's Fox Features Syndicate, was named in emulation of the Green Hornet. This Blue Beetle, who made his first appearance in the pages of MYSTERY MEN COMICS No. 1 (August, 1939), was secretly police patrolman Dan Garret. It was never satisfactorily explained exactly what were the Blue Beetle's superpowers or where they came from, but he proved to be surprisingly durable for such an ill-defined character. (Whatever the Blue Beetle's powers were, they were a direct effect of "Vitamin 2X", created by a Dr. Franz.) He soon starred in his own comic book title (60 issues, cover-dated from Winter, 1939-1940 to August, 1950), a continuing place in Fox's MYSTERY MEN COMICS' line-up (through its 31st and final issue, cover-dated February, 1942) and BIG THREE, a syndicated newspaper comic strip (drawn by Jack Kirby, no less!) and even a radio series. After a handful of unauthorized reprints by I.W./Super Comics, BLUE BEETLE returned, this time under the Charlton Comics banner. First, in 1955, came four issues, three of which featured "Blue Beetle" stories reprinted from Victor Fox's books. The fourth issue was comprised of new material; unfortunately, it must not have been particularly well-received, because the Blue Beetle went into hibernation for nearly a decade. Then, in June, 1964, when DC and Marvel had already been enjoying success by resurrecting Golden Age Superheroes, Charlton published a new incarnation of the Blue Beetle, complete with a new costume and back in his own title, reworked by writer Joe Gill and cartoonist Tony Tallarico,. This one was also named Dan Garrett (notice the change in spelling), but rather than a policeman, this one was an archaeologist who had discovered an ancient scarab amulet that gave him his superpowers. Unfortunately, this version of the Blue Beetle proved to be only slightly more successful for Charlton than their 1950s attempt. Charlton published five issue of this new BLUE BEETLE from June, 1964 to March - April, 1965, then followed this with another five-issue series, cover-dated from July, 1965 to February - March, 1966. But for some odd reason, Charlton refused to give up on the Blue Beetle. In the back of the company's CAPTAIN ATOM No. 83 (November, 1966), Blue Beetle was reborn yet again. "The New Blue Beetle!", by cartoonist Steve Ditko and writer Gary Friedrich, was a 7-page story that introduces millionaire electronics inventor/scientist/industrialist Ted Kord (shades of Marvel's Tony Stark!), who, it's eventually revealed, was passed the mantle (and cowl) of the Blue Beetle by a dying Dan Garrett. Rather than possessing any magic-derived superpowers, this Blue Beetle relied upon sophisticated technological gimmicks, which included a huge, floating vehicle he called "The Bug". After a total of four back-up appearances in CAPTAIN ATOM (with Dave Kaler and Jim Aparo's "Nightshade" filling the slot afterwards), Charlton launched a new BLUE BEETLE series, cover-dated June, 1967. Unfortunately (you guessed it!), Charlton's new incarnation of BLUE BEETLE lasted for only five issues; this issue being the final one. (And if this issue's stories are any indication of where it might have gone under Steve Ditko's Objectivist guidance, perhaps that's not an entirely bad thing.) A few previously-unpublished "Blue Beetle" stories turned up in the fan-produced CHARLTON BULLSEYE and elsewhere, but for the most part, Charlton avoided superheroes after that (a notable exception being Nicola Cuti and Joe Staton's E-MAN). In the 1980s, DC Comics purchased many of Charlton's superhero characters, including the Ted Kord Blue Beetle, and seamlessly folded them into the so-called "DC Universe". (The characters were originally slated to be deconstructed in the first draft of Alan Moore's WATCHMEN, but DC management reconsidered doing this, changing Blue Beetle to "Nite Owl" and the Question to "Rorschach".) After 24 issues of BLUE BEETLE (June, 1986 - May, 1988) and stories in SHOWCASE '94, the character continued to have a high profile in such DC titles as JUSTICE LEAGUE. Unfortunately, Ted Kord was murdered at the hands of Max Lord in 2005's COUNTDOWN TO INFINITE CRISIS No. 1 (May, 2005). Not surprisingly (considering the character's history), the Blue Beetle soon returned -- albeit with an entirely new alter ego (as Jaime Reyes), costume and powers -- in DC's BLUE BEETLE No. 1, (May, 2006).

Cartoonist Steve Ditko, born in Johnstown, Pennsylvania on November 2, 1927, remains one of comicdom's most important and innovative -- if reclusive -- creators. Routinely avoiding interviews or photographs, Ditko prefers to maintain his privacy, allowing his feelings about his career in comics be summed up by his well-known statement, "The work speaks for me." After studying under cartoonist/teacher Jerry (BATMAN) Robinson at New York's Cartoonist And Illustrators School, Ditko began professionally drawing comic book stories in the early 1950s. Reportedly, his first-published story (written by the late comics historian/retailer/agent/publisher Bruce Hamilton) appeared in Ajax/Farrell's horror comic FANTASTIC FEARS No. 5 (February, 1954). In addition to drawing stories for Joe Simon and Jack Kirby's BLACK MAGIC (Crestwood/Headline), Ditko produced his first work for Charlton, appearing in the pages of THE THING (unrelated to THE FANTASTIC FOUR's "walking pile of orange peach pits".) This initiated a professional relationship that would last for decades, since Ditko enjoyed the relative creative freedom that Charlton's lack of editorial interference provided, even though the company's page rates, printing and paper stock often left something to be desired. After a brief respite from comics in 1955, Ditko began drawing stories for editor/writer Stan Lee at Timely/Atlas/Marvel; April, 1956's JOURNEY INTO MYSTERY No. 33 features his first story for the company, "They'll Be Some Changes Made!" Although publisher Martin Goodman ordered Stan Lee to stop buying new material in 1957, Ditko continued to work steadily for Charlton on a variety of material. And in 1958, when Timely/Atlas/Marvel resumed making new assignments, Ditko was one of the first to get a call from editor Lee. In such titles as AMAZING ADVENTURES, JOURNEY INTO MYSTERY, STRANGE ADVENTURES, STRANGE WORLDS, TALES OF SUSPENSE, TALES TO ASTONISH and especially AMAZING ADULT FANTASY ("The Comic Magazine That Respects Your Intelligence!"), Ditko gained comic readers' attention for drawing atmospheric, five-page stories that perfectly showcased his unique storytelling and design abilities. Meanwhile, over at Charlton, Ditko co-created (with Joe Gill) one of the Silver Age's first original, nuclear-powered, Communist-fighting superheroes; "Captain Atom" first appeared in Charlton's SPACE ADVENTURES No. 33 (March, 1960). Ditko also drew many stories -- some of them openly humorous in tone -- for Charlton's ongoing licensed monster movie series, GORGO and KONGA. Amazingly prolific, Ditko penciled and inked somewhere between 450 to 700 pages a year during this period. But it was Marvel's AMAZING FANTASY No. 15 (August-September, 1962, dropping the "Adult" from its title) that permanently put Steve Ditko in the public consciousness, even if his actual identify would unfortunately remain obscure to this day. This history-making issue featured the first appearance of Peter Parker, "The Amazing Spider-Man" -- co-created by Ditko and writer/editor Stan Lee -- and comic books would never be the same. The duo also co-created "Dr. Strange, Master Of The Mystic Arts", who first appeared as a backup story in Marvel's STRANGE TALES No. 110 (July, 1963). (In a fanzine interview, Stan Lee admitted that Ditko had come up with the character all on his own and brought him to Marvel.) "Dr. Strange" featured mind-blowing special effects and other-dimensional characters, costumes and locations that put the rather straight-laced Ditko years ahead of the psychedelic art movement of the later 1960s. Together, the hyper-imaginative trio of Steve Ditko, Stan Lee and Jack Kirby co-created the characters and produced the groundwork that would eventually lead to the "Marvel Universe" and Marvel's ascendancy to the role of America's most successful -- or at least most important, for a time -- comic book company. Before long, Ditko was plotting -- as well as drawing -- THE AMAZING SPIDER-MAN and "Dr. Strange", with the overworked Stan Lee concentrating on editing, art directing and writing dialogue. Ditko was kept so busy producing material for Marvel that he cut down his output for Charlton. (In fact, Ditko occasionally turned to his studio-mate, bondage artist Eric Stanton, to help him out.) The results of their collaboration remain legendary. But in mid-1966, everything changed when Steve Ditko abruptly left Marvel, his final stories appearing in THE AMAZING SPIDER-MAN No. 38 (July, 1966, "Just A Guy Named Joe!") and STRANGE TALES No. 146 (July, 1966 "The End -- At Last!" -- how appropriate.) The rift was supposedly due to unrealized promises of profit-sharing and disagreements over SPIDER-MAN's "Green Goblin" identity and storyline. It was also around this time that Ditko discovered and embraced the writings and "Objectivism" philosophy of author Ayn (THE FOUNTAINHEAD, ATLAS SHRUGGED) Rand. The cartoonist was so influenced that he began to subtly -- and in this issue of BLUE BEETLE's instance, not so subtly -- apply the philosophy to some of his comic book stories. Returning to Charlton, Ditko worked on re-launches of Captain Atom, the Blue Beetle, and a new character, the Question (who would lead Ditko's future heroes in a new, more personal and controversial direction.) While continuing to contribute to Charlton Comics until their eventual demise in 1986, Ditko also did work for the American Comics Group, Warren's CREEPY and EERIE, Tower (on T.H.U.N.D.E.R. AGENTS and its spin-offs), and most notably, DC Comics. There, starting in 1968, he co-created THE CREEPER and THE HAWK AND THE DOVE, two short-lived but memorable series, as well as working on MAN-BAT, STALKER, PLOP!, SHADE THE CHANGING MAN and many others. Atlas/Seaboard, Valiant, Defiant and Topps are other publishers to print post-Marvel work by Ditko. Decades later, Ditko would eventually return to Marvel, but working on everything but the characters he'd made famous, vowing never to draw Spider-Man or Dr. Strange ever again. (Nonetheless, his run on ROM, SPACEKNIGHT, inked by an impressive parade of talents, was somewhat noteworthy, despite the fact that it starred a toy robot whose head resembled a toaster. During this period, he also co-created such Oddball superheroes for Marvel as "Speedball" and "Squirrel Girl".) But it's "Mr. A", Ditko's creator-owned, all-or-nothing re-working of the Question -- first appearing in Wallace Wood's groundbreaking WITZEND magazine, privately-published in the late 1960s -- that led this cartoonist to express his opinions and philosophy through the emerging alternative/independent comics scene. MR. A and AVENGING WORLD are two of many titles in which Ditko explored such themes as the struggle between good and evil, ugliness and beauty, and the weak versus the strong. Although not as prolific as he once was, Steve Ditko continues to create new works to challenge and entertain his legion of appreciative fans.

However, one question remains. If Steve Ditko had not become financially and creatively disenchanted with Marvel Comics and Stan Lee back in 1966, would he have eventually applied his personal philosophies to Spider-Man and Dr. Strange? And how would it have affected his storytelling there? Perhaps this issue of BLUE BEETLE gives us a taste of that alternative scenario.

Author/philosopher Ayn Rand (originally Alissa Rosenbaum) was born in St. Petersburg, Russia, on February 2, 1905. Teaching herself to read at age six and deciding to become a professional writer at age nine, Ayn devoted herself to studying philosophy, history and screenwriting. After graduating college, she obtained permission to visit the United States, whose freedom inspired her. There, determined not to return to Russia, she gained a visa extension and moved to Hollywood, where she soon found work as a script reader for Cecil B. DeMille, as well as meeting and marrying actor Frank O'Connor. Ayn sold her first screenplay, RED PAWN, to Universal Pictures in 19323, and her first novel, WE THE LIVING, to the Macmillan Company in 1936. In 1943, her novel THE FOUNTAINHEAD was published by the Bobbs-Merrill Company, becoming a bestseller through word-of-mouth and gaining Ayn Rand lasting recognition as a champion of individualism. After adapting THE FOUNTAINHEAD into a screenplay, she devoted herself to writing her major novel, ATLAS SHRUGGED, eventually published in 1957. In this novel, she dramatized her unique philosophy in an intellectual mystery story that integrated the elements of ethics, metaphysics, epistemology, politics, economics and sex. Ayn called her philosophy "Objectivism", characterizing it as simply being "a philosophy for living on Earth". Ayn Rand spent the remainder of her life writing, lecturing and publishing about Objectivism. She died on March 6, 1982. So exactly what is this "Objectivism" that influenced and shaped cartoonist Steve Ditko's comic book stories, including those in this issue of Charlton's BLUE BEETLE? To sum up her philosophy of Objectivism, Ayn Rand wrote in 1962:

"At a sales conference at Random House, preceding the publication of ATLAS SHRUGGED, one of the book salesmen asked me whether I could present the essence of my philosophy while standing on one foot. I did as follows:

"1. Metaphysics: Objective Reality
2. Epistemology: Reason
3. Ethics: Self-interest
4. Politics: Capitalism

"If you want this translated into simple language, it would read: 1. 'Nature, to be commanded, must be obeyed' or 'Wishing won't make it so.' 2. 'You can't eat your cake and have it, too.' 3. 'Man is an end in himself.' 4. 'Give me liberty or give me death.'

"If you held these concepts with total consistency, as the base of your convictions, you would have a full philosophical system to guide the course of your life. But to hold them with total consistency—to understand, to define, to prove and to apply them—requires volumes of thought. Which is why philosophy cannot be discussed while standing on one foot—nor while standing on two feet on both sides of every fence. This last is the predominant philosophical position today, particularly in the field of politics.

"My philosophy, Objectivism, holds that:

"1. Reality exists as an objective absolute—facts are facts, independent of man's feelings, wishes, hopes or fears.

"2. Reason (the faculty which identifies and integrates the material provided by man's senses) is man's only means of perceiving reality, his only source of knowledge, his only guide to action, and his basic means of survival.

3. Man — every man — is an end in himself, not the means to the ends of others. He must exist for his own sake, neither sacrificing himself to others nor sacrificing others to himself. The pursuit of his own rational self-interest and of his own happiness is the highest moral purpose of his life.

4. The ideal political-economic system is laissez-faire capitalism. It is a system where men deal with one another, not as victims and executioners, nor as masters and slaves, but as traders, by free, voluntary exchange to mutual benefit. It is a system where no man may obtain any values from others by resorting to physical force, and no man may initiate the use of physical force against others. The government acts only as a policeman that protects man's rights; it uses physical force only in retaliation and only against those who initiate its use, such as criminals or foreign invaders. In a system of full capitalism, there should be (but, historically, has not yet been) a complete separation of state and economics, in the same way and for the same reasons as the separation of state and church."

To learn more about Ayn Rand and Objectivism, please visit http://www.aynrand.org/site/PageServer

an abstract stone statue

This issue's 18-page "Blue Beetle" cover-story is "Blue Beetle Faces The Destroyer Of Heroes" was plotted and drawn by Steve Ditko, scripted by D. C. Glanzman and lettered by "A. Machine". It begins in one of Hub City's art museums, as highbrow art critic Boris Ebar delivers a long-winded analysis of an abstract stone statue -- one with a heart-shaped hole where its heart would normally be located -- to a rapt audience of bohemian-types:

BORIS EBAR: Here is what I call "Our Man"! This anonymous work is a perfect example of art that reveals the true spirit of Man... Man as he really is. The entire form is nondescript... lacking the usual, grotesque, heroic pose. The missing eyes, a profoundly human touch with which all Man may identify and which dramatizes Man's inevitable weaknesses. Notice please, the touch of pure genius... the DELIBERATE LACK of heart! The faculty that many should obey! The closed hands, symbolizing Man's inability to solve or control the illusion we call existence. Yes, this is true Man... this is how we really are... no one can improve upon it... or escape it! We can only accept... Our Man!

While Boris holds forth, research scientist Ted (Blue Beetle) Kord and his trusted assistant Tracey enter the gallery, which is full of bizarre and grotesque pieces of art, and react to the critic's all-too-plentiful words:

TRACEY: Ted, even if he means it as a joke, it's a disgusting appraisal of Man!

TED (BLUE BEETLE) KORD: He means it, Tracey... and he and a lot of others REALLY believe it!

In a corner of the gallery, a mopey-looking-but-brawny hippie named Hugo silently sulks to himself:

HUGO (thinking): It's true! That's exactly how I feel! Man is an incompetent nothing in a world of mystic terrors... all without meaning or purpose!

Meanwhile, another hero-in-mufti has arrived at the art show— TV commentator Vic Sage, AKA The Question:

BORIS EBAR: Ah, the famous Vic Sage. Surely you share my aesthetic beliefs, the irrefutable logic that...

VIC (THE QUESTION) SAGE: I'LL speak for myself! Your views and that thing belong on a junk heap! But it's perfect for all of you...

HIPPIE BYSTANDER: How dare he attack Ebar or a true work of art!

VIC (THE QUESTION) SAGE: ... Perfect for self-admitted nothings who have nowhere to go in their world of nothing!

a glorious golden statue

The crowd follows Vic into an adjoining gallery which displays a number of uplifting pieces of art, including a glorious golden statue titled "The Unconquered":

HIPPIE: Aaack! This trash is for fairy tales!

TED (BLUE BEETLE) KORD: Now I know what it's like to see a plague coming on!

HIPPIE GIRL: This pretty stuff gives me the creeps. They're trying to put us down!

VIC (THE QUESTION) SAGE: My, my, it's so unfair, isn't it? You can't have what you want and wishing for it should be all the effort you need to get anything.

Suddenly, the droopy-faced bohemian we met earlier comes rushing forward, with righteous destruction on his mind:

HUGO: "The Unconquered." I hate that statue! I hate heroes, I'll... I'll smash it!!

TED (BLUE BEETLE) KORD: Don't you dare lay a hand on that statue!

Seeing Ted Kord standing up to the crowd, Vic Sage steps up to his side, as does Tracey. This display of solidarity forces the crowd of hippies to split the scene:

HIPPIE: Ahh, let them go! They'll be yellin' for the cops! Come on, this joint makes me itch!

(Hmmm, if that joint makes him itch, it must be full of paraquat! Oops, wrong joint!) Then the angry art critic sparks another confrontation with Vic Sage:

BORIS EBAR: Sage, you owe me an apology! I'm a recognized art critic and you embarrassed me... you made me appear like a fool!

VIC (THE QUESTION) SAGE: I owe you nothing! How you feel about your own evaluation of art is your business! Don't try to use me to foster your opinions!

Meanwhile, Ted has become enthralled with the statue he just protected:

TRACEY: Ted, why are you staring at "The Unconquered"?

TED (BLUE BEETLE) KORD: There's something about it! It signifies more to me than just a fine figure... Something deeper... It's proof that Man is NOT helpless! Man can set a goal and achieve it. As the sculptor did with his statue, so can anyone else. But Man has to motivate himself!

a nekkid Pillsbury Dough Boy

his cluttered art studio

Similarly, back in the other gallery (where a statue of a nekkid Pillsbury Dough Boy is apparently on display), the hippie named Hugo has become fascinated by the "Our Man" statue:

HUGO (thinking): Yes, this is the way Man really is! I can feel it inside me... It's true! We are all like this statue! Man doesn't have the power to achieve anything! Man is a helpless speck in an unknowable universe ruled by strange forces that control Man's will and destiny! By himself, Man is nothing and can do NOTHING!

Hugo exits the museum and skulks back to his cluttered art studio. On the way, he stops to tear up a poster-size advertisement bearing the image of two beautiful people.

HUGO (thinking): Man can't be great or heroic! Anything that shows him being better than he really is... is evil! It presents him with a dream he can never experience! Everything that doesn't show Man as he is, as "Our Man" has revealed, should be destroyed! If Man sees no illusions, nothing that he cannot have, he will have no frustrations! Man will only be happy when he recognizes and accepts the fact that he is a helpless, meaningless speck in a never-ending universe! Someone should destroy all that heroic evil! To rid it from the sight of man forever! Then the works of true art like my sculptures will allow Man to know and experience his true nature.

Finally back in his studio, Hugo begins to construct a grotesque (but familiar) costume out of plates of metal:

HUGO (thinking): I... I feel it in me... the command! I... I must be the one who will show Man the way! I will smash those heroic idols!... Dressed as "Our Man", I will free Mankind of the demons that possess his heart and corrupt his soul! Once rid of his heroic symbols, no man will ever feel less worthy of others... For there will be nothing to look up to... and no man will have to struggle endlessly and uselessly to try to achieve the unattainable! He will find true happiness and peace with himself!

A few days later, the Blue Beetle climbs into his unique, multi-mode vehicle, the Bug, leaving Tracey behind in his secret headquarters beneath the city's docks. After it rises from its underwater hanger, Blue Beetle pilots the Bug across town toward -- you guessed it -- the local art museum:

BLUE BEETLE: Ever since that run in at over the statue, I've been keeping an eye on the museum. I may be overly concerned, but if anything happened to that art, especially "The Unconquered"... Well, it's worth the loss of sleep to be certain nothing does happen! I wouldn't put it past those types from trying to wreck it... to them... nothing has any value... not even themselves! Okay, Bug! Up you go, out of sight! That will do it! This is the most rewarding vigil anyone ever had! I may have convinced myself of the possibility of trouble just so I could keep seeing "The Unconquered"!

But as he lowers himself to the museum's roof and approaches the skylight, the Blue Beetle stops dead in his tracks as he sees someone coming his way. What's even more surprising, it looks like the "Our Man" statue, some someone dressed identically to it! Little does he realize that it's Hugo!

"OUR MAN"/HUGO (thinking): The Blue Beetle! He saw me... But he's one of THEM! He dares to set himself up as a god! He is worse than heroic art... He's trying to be a hero... to be better than everyone else!

Hugo throws a punch at the Blue Beetle, who quickly learns that his attacker's "costume" is actually armor! The blue-clad hero manages to avoid his foe's fists, but when one of 'em finally connects, he's knocked over the edge of the building. The Blue Beetles desperately grabs a hand-hold, dangling in the air -- until Hugo kicks loose B. B. -- and the bricks upon which he was holding onto for dear life! When a security guard shows up to investigate the noise from their battle, Hugo takes off, while the Blue Beetle executes some fancy acrobatics from a series of flagpoles and lightposts, then electronically summons the Bug:

BLUE BEETLE: Let's go, Bug! I want you to know who's inside that walking distortion of a man! If the mind behind it is as twisted as the statue it represents, it came to destroy the art I was watching!

Elsewhere, at a nearby park, Hugo runs across a new object worthy of his destructive attention:

"OUR MAN"/HUGO (thinking): That statue... it's one of the heroes of Hub City! I've always hated it!

HIPPIE #1: Hey, look! It's "Our Man"!

HIPPIE GIRL: Look at that! Go, man, go! Smash it down, man, down with phoney traditions! Free us, man! WE'LL MAKE OUR OWN RULES!

HIPPIE #2: We don't need any past! It's here and now, man! GO TO IT!

HIPPIE #3: We're with you, man! Down with the chains of conventions... of authority! Man must live as he FEELS! Ha-ha! SMASH AWAY!

HIPPIE GIRL: We're with you, man! YIPPE! (sp.)

HIPPIE #4: Go, man, go! DON'T EVER STOP!

Fortunately, the Bug's antenna has picked up the commotion, dropping its pilot into the midst of the chaos.

BLUE BEETLE: You seem to get your kicks out of destroying. I get mine from kicking the destroyers.

But while the insectoid superhero grabs "Our Man" and flings him across the park, the crowd of hippies turns even nastier and begins to pelt the Blue Beetle with rocks and stones! Stymied, the Blue Beetle takes off in the Bug while Hugo uses the fracas as an opportunity to head back to the safety of his studio.

BLUE BEETLE: Thanks to the efforts of society's self-style "finest", I lost "Our Man!"

The next day, highbrow art critic Boris Ebar is interviewed on the same TV station that employs Vic Sage, who sneers at Ebar's rhetoric:

INTERVIEWER: A new champion, "Our Man" has arisen for some and Boris Ebar will explain its deeper meaning. Mr. Ebar also promises to replace the destroyed park statue with one that doesn't signify a self glorifying act or a so-called heroic deed! Mr. Ebar!

BORIS EBAR: "Our Man" is not a symbol!... "Our Man" is the real Man... not Man's pretenses or fantasies. "Our Man" is what every man is. That is why we feel and identify with him. Why he is becoming so popular, HE IS US! A man for EVERY

For more from Scott Shaw!, visit his Web site at http://www.shawcartoons.com/.

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